Blade Runner Movie Analysis

Blade Runner

In the movie Blade Runner uses the help of science and technology as detailed science fiction human desires through the film with technology dominating all problems and all reality. “The cinematic brings the existential activity of vision into visibility in what is a phenomenological experienced as an intentional stream of moving images that is perceived as visual intentionality that visibly chooses the subject and objects of it attention, takes an attitude towards them and accumulates them into a meaningfully aesthetically and ethically experience” (Sobchack,98).

Being in the film world of Blade Runner with dominant cinematic and electronic technologies of representation that have enormous impact on ourselves. Our senses in our body get stimulated from the movie experience as we engage with the world we are going through a ride into the future, and an upgraded world that still has its up and downs in life.

Time and memory been the object of our desires and marks our presence, when sitting and watching a film we are participating by sitting and watching and placing ourselves focusing on a single aspect while having a bodily experience. When watching the film as in blade runner everything is presented through technology, scenes with flying cars and advertising billboards, which are everywhere, feature lifelike electronic people who are the size of giants. We are present as we are watching the movie but the film is based in a futuristic time where technology dominates the world, you get transported into another world decay and disorder with design and architecture of the city with bright lights, feeling if you were somewhere out of space, not Los Angeles in the future. Harrison Ford as the leading man you hear his voice of what he is thinking that flows through the world that keeps you drawn at the moments seeing the cultural dynamic of the city all around him. He falls in love with a replicant which you wouldn’t believe would happen between something that supposed to have no emotion, could possibly fall in love with another human being.  “We are all part of moving – image culture, and we live cinematic and electronic lives many people describe and understand their minds and bodies in terms of computer systems and programs” (Sobchack,92). In a scene in Blade Runner,  Rachael was an experimental nexus Rachael is a replicant has the implanted memories of Tyrell’s niece, and is then led to believe that she is human. When told that actually belongs to someone else she not only becomes distraught but also ontologically re signed as someone who possesses no real life, no real history although she still remembers what she remembers.

The memories gave rachael a sense of reality and purpose evening out her emotions, when she sat down and started explaining she remembers taking lessons but now unsure if the memories were hers or implants, even though rachael is android she has emotions and is very human like. As i’m watching this scene, I felt so bad for her because she was someone that was confused about herself and who she was which was relatable and sparked something in me that she was someone that had human like emotions and was going through the same thing everyone at some point in their lives goes through. “The moving picture is a visible representation not of activity finished or past but of activity coming into being and being” (Sobchack,103).   Physical experience with technology and how we engage with shapes the experiences of the world, if you are sitting home watching a movie, driving to school, or doing homework some part of the day everyone is engaging with technology. We are shaped by technology its involved in our everyday lives and helps us with the convenience of daily activities. The ongoing affirmation of constant cell phone calls, electronic pages and messaging these standing less as significant communication than as the exterior proof of one’s existence.(Sobchack,99).  “I think, therefore, I am,” one of the replicants Pris telling Sebastian that they are not just computers but they are physical as well. These replicants have a spiritual self being and we are confronted with that they are more robotic then people with physical beings and emotion. Questioning your self being of could this be our world one day of advancement in technology and how is it going to change us when we move toward a world that’s dominated by all devices. The replicants are not programmed to live for a long time but they are programmed supposedly to be better than humans, they are fighting for a longer span and living just as long as everyone else. We feel for these replicants because they are relatable in their fight for survival as we would do the same.

During the film we have an individual experience through the structure of the experience on our own that cannot be easily controlled watching a film. With the visual and aura representation of the world, the scene when the replicant Roy is trying to kill Harrison Ford he makes a big speech in the pouring rain as he about to throw Harrison Ford off the building, talking moments and time, there is a sense of sadness for the replicant as your watching him in the rain with a sad look even though he is about to kill someone but the weight of the film falls into this moment and in this moment we evaluate ourselves. It extends our senses and our capacity and see make sense of ourselves,  “As our aesthetic forms and representation of “reality” become externally realized and then unsettled first by photography, then cinema, and now electronic media, our values evaluative criteria of what counts in our lives are also unsettled and transformed”(Sobchack,93).

we see importance of our lives through films they bring into an outside world that’s inside yourself and realize it through the film experience, in Blade Runner we get a ideas about how our future would be in a technological world and us being involved with different realities. We put ourselves in these moments and being transformed into our own selves in the matter of seconds during a experience as we are trying to survive ourselves.

• ” The Scene of the Screen: Envisioning Photographic, Cinematic, and Electronic ‘Presence.'” Carnal Thoughts: Embodiment and Moving Image Culture, by Vivian Sobchack, Univ. of California Press, 2010, pp. 92–106.

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